These photos come from multiple photo sessions I conducted between 1978-1980 with the dancer Min Tanaka, exploring the relationship between physical light and the human body.This project started at the "MA-Space/Time in Japan" Exhibition which took place at the Paris Autumn Festival in October, 1978. Back then, I had been taking pictures for the "Fenêtre" collection. I was 27 and Min was 33.

How does light affect perception? What about emotions? I was obsessed with these questions at that time. The idea of "Body Weather" brought Min and I together. This depicts the pivotal moment where meditations on physical light met the art form of the human body. The project turned out to be a fascinating three years blurring the lines between the object and subject matter of art.

We experimented with various types of light, ambiences and seasons. The locale was broad, ranging from the metropolitan to the natural; Paris, Rome, New York, Iceland, Bordeaux, Tokyo, Kujuu-Kurihama and Akikawa-Keikoku. The motive was to observe how a dancer's body adapts to outer stimuli, or to rephrase it: a human body reaching into the light with its raw skin and nerve endings.In Bordeaux, France lie the remains of a U-boat pen built by the Germans in the Second World War. It resembles an enormous vessel covered with chunks of concrete to assure protection against air attacks. Slivers of light and recollection interweave in this vast unmanned space, where a solitary human body entwines with the light.In June, the season of the midnight sun, we had been endlessly driving through the geothermal areas of Iceland in search of a good place for a photo shoot. Days bled into nights. The sun never went down. The glistening black ground and intense tranquility enclosed on us. The camera clicking and rewinding film were the only sounds accompanying our steps.

Although this work has been nearly abandoned for the past 35 years, today it holds special meaning to the both of us in revisiting our creative starting points.